Love Hurts (2025) Review
“Love Hurts” may present interesting action sequences, but it falters, maybe even fails, regarding everything else it is expected to deliver.
Rated R
Heart Eyes (2025) Review
“Heart Eyes” delivers decent laughs and an acceptable level of brutality, but lacks the writing needed to make the Heart Eyes Killer into an icon.
Companion (2025) Review – Just Acknowledge Sophie Thatcher Is The Scream Queen Right Now
“Companion” pushes Sophie Thatcher to the point of showing not only is she the top scream queen out there, but she could conquer the drama genre next.
Inheritance (2025) Review – Phoebe Dynevor Further Etches A Reputable Filmography
While sometimes feeling like it lacks the expected payoff, “Inheritance” helps Phoebe Dynevor seem like a safe bet if she’s associated with a production.
Marked Men: Rule + Shaw – Review | Bland Despite Its Potential To Be More
“Marked Men” is made for a specific audience, and to capture that audience, it contains everything that could be interesting about this film – but fails in execution.
One Of Them Days (2024): Review and Summary | Keke Palmer Pushes The Idea “One Of Them Days” Should Become One Of Her Latest Hits
“One Of Them Days” is the kind of comedy that you can see become a single outing or a franchise in Issa Rae and Keke Palmer’s filmographies – depending on how well it does.
The Last Showgirl (2024): Review and Summary | Pamela Anderson Sets The Bar Higher, But The Film Misses Opportunities For Others To Shine
While Pamela Anderson reinvents herself, it sometimes seems at the cost of giving the spotlight to her peers, with perhaps as much to prove.
Bloody Axe Wound (2024): Review | The Father/Daughter Horror Movie You Wasn’t Expecting
“Bloody Axe Wound” achieves the rare balance of being funny, heartfelt, romantic, and bloody.
Babygirl: Review and Summary | The Ecstasy Of Vulnerability and Risk
“Babygirl” is the rare example where the story deserves more attention than the performances.
Nosferatu (2024): Review and Summary | The Original Vampire Fails To Retake Its Crown
“Nosferatu” doesn’t justify bringing back the dead, even with Robert Eggers’ brand of visuals and eccentric performances to expendable characters.
